Moog Engineer Rick Shaich discusses the Ladder Filter, the first Voltage Controlled Filter, which is the heart and soul of the Moog modular synthesizers of the 60s, the Legendary Minimoog of the 70’s, and is still the same filter topology used in all Moog Synthesizers to this day. The Ladder Filter creates the massive, thick sound for which Moog instruments are renowned.

123 Creative, known for their Veldwerk synth, have released BigQ. It is a envelope follower/multifilter plugin. Cutoff (frequency) of the filter is controlled by the amplitude of the input signal. The louder you play, the more intensive the cutoff frequency of filter is modulated. Perfect for BASS guitar, Electric guitar and Drums.

To give you a flavour of the 5 Oscillator/ 2 filter sound- MacBeth set up this on the M5X prototype. It’s pretty massive with hints of spring line reverb and cross modulation from one of the VC Modulators modulating as well as being audio! It’s a booming, massive sound!

Nanoloop (1st version for Nintendo Gameboy) + modified Korg Monotron, both synced by a Roland TR-626. Nanoloop is triggered by the rimshot pattern of the 626. The sawtooth LFO (low frequency oscillator) of the Monotron is triggered by syncuino (http://chemiker1981.blogspot.com/) and the cutoff frequency of the Monotron analog filter is controlled by a sequence generated by Syncuino.

The tagline for Zynaptic is “science, not fiction” – guess they are quite true. Check out the new demo of their secret algorithm for audio filtering, spiced (as they say) with some artificial intelligence

Live from MusikMesse 2013
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A brief look at the Doepfer A121 Multimode Filter. Audio demonstrations of the Doepfer A121 Multimode filters. A specific look at the Low and High Pass Filters. Next video in series looks at the Band Pass and Notch filters.Sound and Video by Raul Pena.

This video shows the result of using the Koushion step sequencer app and the Moog Multi-Pedal (in MIDI-to-CV conversion mode) to create a tempo-synced filter step sequence on the Moog Sub Phatty synthesizer. The analog CV out of the Multi-Pedal is connected to the filter CV input on the Sub Phatty.

Here is a demonstration of the sound and functionality of the Moog Sub Phatty’s filter section.

“Previous to the shooting of these demo videos, I set all of the “under the hood” functionality to settings that would cause the synthesizer to act most like a vintage synthesizer. In the process of shooting, the synthesizer was turned on and off a number of times. A couple of times, I found that certain obvious settings had been reset (like the LFO pitch tracking feature, which kept coming on). When it didn’t affect the subject I was shooting, I didn’t reset them to my tastes. It appears that I should have, because it now seems likely that this video was shot with the filter in 18 dB or12dB per octave mode, despite the fact that I had set it to 24dB per octave before starting the series of shoots. Keep that in mind! (sadly, I no longer possess the unit, so I can’t reshoot!)”

The Moog Foundation has really been busy over night – uploading some 20+ videos, below you will find a snapshot on what you can explore on their Youtube channel

This is the introductory video for the Bob Moog Foundation/macProVideo series “The Foundation of Synthesis.” In it, Marc Doty sets the stage for the intent of these videos, which is an integrative instruction which not only describes synthesizer function and operation, but also gives a historical foundation for the functionalities and their implementation.

Pulse Width Modulation is a pleasing aural effect generated by the voltage-controlled adjustment of the width of a square wave. In this Foundation of Synthesis video, Marc demonstrates this function on several classic synthesizers. The video includes an oscilloscope, which shows you exactly what is happening when the width of the square wave output of the oscillator is changed!

In this part of the 3rd Tutorial of the Foundation of Synthesis, Marc outlines the history of the filter from its origin in the telephone to its application in electronic devices in order to give a firm understanding of how the filter came to be an important part of modern synthesizers. The filter is a function which removes harmonics from a sound. Since harmonics define the timbre of the sound, this is a fast and easy way to create new timbres.

Control voltage is the concept synthesis had waited for for 60 years. This technology united the synthesizer into a single device as well as allowed that device to become fully controllable and automated. Control voltage was a revolution in synthesis. In this video, Marc gives a short history to this amazing development.